Born in Nyack, New York, along the Hudson River, Edward Hopper began to study art in the local schools before seeking instruction in commercial art in New York City in 1899. From 1900 to about 1906 he studied at the New York School of Art under Robert Henri and Kenneth Hayes Miller, both of whom urged their students to concentrate on modern subjects.
Among Hopper's fellow students were George Bellows, Rockwell Kent, and Guy Pene du Bois. Between 1906 and 19l0, Hopper made three European visits of several months each, spending most of his time in Paris. Living quietly with a French family, he did not study in an art school but painted on his own. The artists he looked at and admired were those Henri had suggested — Goya, Manet, Degas, Sisley and Pissarro. The latter two showed up as the first major influences of his street views of Paris.
Back home in these same years, Hopper was painting aspects of the native scene that few artists had attempted. Although the Ashcan group — Henri, John Sloan, William Glackens, George Luks and Everett Shinn — concentrated on the visual aspects of the metropolis, Hopper was the first to capture the inner feelings of the city and suburban dwellers themselves. Railroad Train (Addison Gallery of Art) and The El Station (Whitney Museum of American Art), both of 1908, were transitional works showing Hopper's movement away from Henri's dark tonalities of the period toward outdoor light and color effects. Little recognition came his way at first and Hopper was forced to concentrate on illustration work to make a living.
Hopper stopped painting completely for a time and, around l9l9, took up etching, capturing on the plate his concepts of everyday life in America that contained the essentials of his later paintings: uncompromising realism, absolute simplicity of statement and a sense of mood that raised it above mere naturalism. His etchings were accepted in major exhibitions and won prizes for the artist; this encouragement led him to take up painting again, both in oil and watercolor, a medium in which he proved to be a master.
In 1927, a showing of his oils at the Rehn Gallery in New York definitely established Hopper's reputation. From about 1920 on, a number of younger artists including Thomas Hart Benton, Charles Burchfield, Reginald Marsh, John Steuart Curry, Grant Wood joined Hopper in a nationalist school dedicated to painting the native scene in a more or less naturalistic style. Hopper's masterpieces of the 1920s and 1930s: House by the Railroad (1925, Museum of Modern Art), Automat (1927, Des Moines Art Center) and Lighthouse at Two Lights (1929, Metropolitan Museum of Art) formed the core of this American Scene movement.
Hopper's vision was unique. The people inhabiting his city and suburban scenes are lonely, anonymous, temporary inhabitants of sometimes inhospitable environments. When there is no human element, he transfers these qualities to the architecture or even to the landscape itself, using intense light to infuse human emotion.
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(Biography provided by Lincoln Glenn)
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Night Shadows
By Edward Hopper
Located in Plano, TX
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...
Etching
Cherry Street
By Charles Frederick William Mielatz
Located in Middletown, NY
A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...
Handmade Paper, Drypoint, Etching
S. L Margolies, Silent Symphony
Located in New York, NY
S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...
Etching
$500
H 7.33 in W 5.91 in
Fulton Market No. 1 - A lower Manhattan landscape as it existed in 1922
By Leon Dolice
Located in Middletown, NY
A lower Manhattan landscape as it existed in 1922, with Trinity Church and City Hall visible in the background. New York: c 1922 Etching with aquatint on heavy-weight cream wove pap...
Archival Paper, Etching
Place Plumereau, Tours
By John Taylor Arms
Located in Middletown, NY
An impression printed by the artist Etching on antique cream laid paper, 1 7/8 x 3 1/8 inches (49 x 79 mm), full margins. Signed, dated, and titled in pencil, lower margin. From the...
Laid Paper, Etching
Notre Dame de Paris
By John Taylor Arms
Located in Middletown, NY
A superb, dark impression of a well known scene by Arms. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper, 12 3/8 x 13 15/16 inches (315 x 354 mm), full marg...
Handmade Paper, Laid Paper, Etching, Aquatint
$400
H 6.25 in W 10.25 in
Kent Hagerman, (United States Air Force, Fairchild XC-120 Packplane)
By Kent Hagerman
Located in New York, NY
Kent Hagerman was an amazing draftsman who managed to get fantastic detail into his work while showing the environment and atmosphere. This print captures the moment a 'pod' is bein...
Etching
Madison Square, N.Y.C.
Located in Middletown, NY
New York: 1947. Etching on white wove paper, 7 x 5 inches (752 x125 mm), full margins. Signed and titled in pencil, lower margin. In very good condition with some minor spots of ligh...
Etching
Street in Marblehead, Massachussets
By Lawrence Wilbur
Located in Middletown, NY
Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent i...
Archival Paper, Drypoint, Etching
The Enchanted Doorway; Venezia
By John Taylor Arms
Located in Middletown, NY
Etching and drypoint on antique cream laid paper, 12 3/8 x 6 9/16 inches (315 x 167 mm), full margins. Signed, dated, and inscribed "Edition 100" in pencil, lower margin. In very goo...
Handmade Paper, Etching, Drypoint
$400
H 8.67 in W 11.97 in
A view of the New York Public Library, looking uptown along 5th Avenue.
Located in Middletown, NY
New York: c 1920. Etching with aquatint printed in brownish black ink on cream wove paper, 8 3/4 x 12 inches (220 x 304 mm), full margins. Signed and titled in pencil in the lower ma...
Archival Paper, Etching, Aquatint
Lescure, Une Tour Des Remparts
By John Taylor Arms
Located in Middletown, NY
Etching on antique laid paper, 6 9/16 x 3 15/16 inches (167 x 100 mm), signed and dated in pencil, lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges, recto, well outside of image area. Scattered handling creases and general scattered soiling in the margins, minor and unobtrusive. [Fletcher 217]. This work was commissioned by The Architectural Forum...
Handmade Paper, Laid Paper, Etching
$400
H 6.38 in W 9.75 in
Kent Hagerman, (US Air Force Fairchild C-119, the 'Flying Boxcar')
By Kent Hagerman
Located in New York, NY
While this is probably a military airport, Kent Hagerman still shows it at its futuristic best. Hagerman was an amazing draftsman who managed to get fantastic detail into his work. This is really a portrait of a plane -- the Fairchild C-119. The words 'United States Air Force' on the side of the plane date it to 1947 or later, after the Air Force split from the Army. The design featured the 'twin boom' clearly showing in this etching. Thanks to this feature it was called the Flying Boxcar. About 1100 were built and used until 1955. It was also used by the Chinese Air...
Etching
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H 13.75 in W 11.75 in D 1.5 in
Edward Hopper Compartment C Car 193 Lithograph, Numbered, Plate Signed & Framed
By Edward Hopper
Located in Plainview, NY
This evocative lithograph, Compartment C, Car 193, is a reproduction of the iconic 1938 painting by American realist Edward Hopper (American, 1882-1967). Published in 1986 in a limit...
Lithograph
Night Shadows
By Edward Hopper
Located in New York, NY
A superb, richly-inked impression of this iconic etching. Edition of approximately 500. Signed in pencil by Hopper, lower right. Published by The New Republic, New York. Catalogue ...
Etching
Edward Hopper - Morgen in Cape Cod
By Edward Hopper
Located in Central, HK
Edward Hopper Morgen in Cape Cod, 1950 Print on paper 60x80cm Edition of 1,000
Paper
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H 21.5 in W 27.5 in D 3 in
The Battery, Charleston, South Carolina By Edward Hopper
By Edward Hopper
Located in New Orleans, LA
Edward Hopper 1882-1967 American The Battery, Charleston, South Carolina Signed “Edward Hopper / Charleston, S.C.” (lower right) Watercolor,...
Paper, Chalk, Watercolor, Pencil
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H 26 in W 36 in D 0.1 in
1991 Edward Hopper 'Portrait of Orleans (1950)' Realism USA Offset Lithograph
By Edward Hopper
Located in Brooklyn, NY
Paper Size: 26 x 36 inches ( 66.04 x 91.44 cm ) Image Size: 20 x 31 inches ( 50.8 x 78.74 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipping and...
Offset
Night Shadows
By Edward Hopper
Located in Plano, TX
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7/16). Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrated: Beall, American Prints in the Library of Congress: 222. Signed in pencil. A rich impression printed by the master printer, Peter Platt, on Van Gelder wove paper with full margins. Kraushaar Gallery label and sales receipt. Signed in pencil. oused in a 16 1/4 x 17 5/8 x 1-inch silver and champagne gold modernist frame. ------------------------------------------------------------------------------------------------- Janet L. Comey wrote, in Edward Hopper: Hours of Darkness: Many of Edward Hopper’s (1882–1967) most admired paintings are night scenes. An enthusiast of both movies and the theater, he adapted the device of highlighting a scene against a dark background, providing the viewer with a sense of sitting in a darkened theater waiting for the drama to unfold. By staging his pictures in darkness, Hopper was able to illuminate the most important features while obscuring extraneous detail. The settings in Night Windows, Room in New York, Nighthawks, and other night compositions enhance the emotional content of the works — adding poignancy and suggestions of danger or uneasiness. The Nyack, New York, born Hopper trained as an illustrator before transferring to the New York School of Art, where he studied under Ashcan School painter Robert Henri (1869–1929). Near the beginning of his career, he revealed an interest in night scenes. On his first trip to Europe in 1906–07, he was fascinated by Rembrandt’s Night Watch (1642) in the Rijksmuseum in Amsterdam; writing to his mother that the painting was “the most wonderful thing of [Rembrandt’s] I have seen, it’s past belief in its reality — it almost amounts to deception.” In several early paintings, Hopper depicted rooms and figures in moonlight. Thereafter, he showed scenes illuminated by artificial light. Painting darkness is technically demanding, and Hopper was constantly studying the effects of night light. Emerging from a Cape Cod restaurant one evening, he remarked upon observing some foliage lit by the restaurant window, “Do you notice how artificial trees...
Etching
EDWARD HOPPER Lighthouse Hill 25" x 34.5" poster Realism Black
By Edward Hopper
Located in Brooklyn, NY
Poster printed for the Dallas Museum of Art. Small dent in the middle of the image and bottom right corner creased.
Lithograph, Offset
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H 27 in W 32 in
EDWARD HOPPER Cape Cod Evening 27" x 32" Poster 1986 Realism Brown
By Edward Hopper
Located in Brooklyn, NY
Printed for The National Gallery of Art, Washington. Published and distributed by Graphique de France. Dents throughout poster.
Lithograph, Offset
Edward Hopper-The Barber Shop-30" x 24"-Poster-1981-Realism
By Edward Hopper
Located in Brooklyn, NY
Poster for an Edward Hopper exhibition which was held at The Neuberger Museum in 1981.
Offset